25 July 2020

Memorialising the pandemic: Venice and Melbourne

William Aslet wrote that every July in Venice a pontoon bridge is constructed between St Mark’s Square and the Church of The Redentore/Redeemer on Giudecca Island. This Festa del Redentore ceremony is known for its impres­sive dis­play of fireworks and revelry, but 2020’s social-distancing remind Venetians of the genesis of this ceremony: the city’s deliverance from the plague of 1575–77.

The plague was devastating for Venice; with c400 dying a day at its peak, it eventually killed a third of the city’s population. Inn­ovative measures were adopted to tackle its spread, including a policy of curfew in residents’ homes and dependence on the city authorities for necessary supplies.

When these measures failed, only God could help. In Sept 1576, at the height of the epidemic, the Senate vowed before the Doge to make amends to the Almighty with acts of public supplication and devotion. A new votive church would be dedicated to Christ the Redeemer as the focal point of an annual ceremony of thanksgiving.

Debates in the Senate were held in Nov where the favourite arch­itect swiftly emerged: Andrea Palladio (1508–80). Having estab­lish­ed himself in Vicenza as an architect of pal­azzi and villas for local noblemen, he had found his greatest success in Venice as an ecclesiastical architect. His church and cloister of San Giorgio Maggiore had established a new language of ecclesiastical architecture for Venice.

With the site and architect chosen, the only matter left to decide was the form of the church. In one discussion in the Senate in Feb 1577, the old architectural question again became relevant i.e whether the church should take a centralised plan, or a more trad­itional, longitudinal design. Palladio’s sympathies were probably with the former scheme, the most eloquent proponent of which in the Senate was his patron Marc’Antonio Barb­aro. But the Senate sided with tradition, voting in favour of the longit­udinal scheme, with Palladio’s design officially approved in Feb.

Procession before Il Redentore, c1648, 
by Joseph Heintz the Younger. 
Museo Civico Correr, Venice. 

The procession across the pontoon bridge was at the fore-front of Palladio’s mind as he worked on the design. With the church to be approached centrally on processional days, the facade needed to provide a magnificent statement of the pietistic aims of the city and of its government. So Palladio ret­urned to a solution he’d explored in his earlier Venetian churches. Described as comprising interlocking temple fronts, this solution created a central pediment of four half-columns flanked on either side by lower half-pediments of a subsidiary order. Both monumental and harmonious, it was perfect for the glorif­ication of God and for the city.

As at San Giorgio, the church was divided into three zones: nave, crossing and retro-choir, but at the Redentore they were modified to express processional requirements and spaciousness. Instead of aisles, the barrel-vaulted side chapels contained openings along the E-W axis that allow them to act as am­bul­atories.

In the approach to the area under the dome, where the city’s of­f­icials sat on proc­ess­ional days, the walls of the nave turned in­wards. This allowed Pal­l­adio to provide the most important space of the church, cerem­on­ially and liturgically, with a monum­ent­al arched entrance. Behind the altar, a semi-circular screen of col­umns emphasised the centralising impetus of the dome. The church was consecrated in 1592.

With the Redentore and the annual procession, the Venetian republic provided such a grand monument to its experience of plague that was never forgotten. Soon, after the pandemic ends, Venice will have to ask what mon­ument would be appropriate for a secular age?

So will Melbourne!

Melbourne has a great precendent. In the late C19th the six independent colonies in Australia began to consider creating a federated nation. The decision was made finally by a referendum in each col­ony in 1899 and the Commonwealth of Australia started on 1st Jan 1901.

Colonial rivalries marred the long negotiations about the site of the eventual national capital, since Victoria had the bigg­est population and economy. To ensure NSW’s agreement to fed­er­ate, it was determined that the capital city would be in NSW, equi-distanced between Sydney and Melbourne. Mean-while Melb­ourne hosted the federal parliament and government while the new capital city was built.

 Melbourne's main ceremonial arch, 1901
above: carriages crossing Princes Bridge
below: view from the Yarra River


The opening of the Parliament of the Commonwealth of Australia took place in Melbourne’s spectacular Royal Exhibition Building in May 1901. Prince George, Duke of York and later King George V, offic­iat­ed for the King. Additionally the city was decorated with a ser­ies of grand arches to cel­ebrate the royal visit. 

Melbourne excelled, with a series of 8 grand ceremonial ar­ch­es marking the royal carriage’s route to and from Exhibition Build­ing. Note the: grand Municipal Arch, King’s Arch, Queen Vic­t­oria’s Arch, Duke of York’s Arch and a Citizens’ Arch. Extra ar­ches were built in St Kilda and in Ballarat, and Spencer St Station was decorated to resemble Windsor Castle! Unfortunately the arches remained in place for only a brief period.

To commemorate the 2020 coronavirus and to give thanks for our sur­vival, I would eventually rebuild the grand arches across Mel­b­our­ne’s Princes Bridge. Since this is the most important and beau­tiful southern entrance into the city, I would not use concrete or any other heavy material which might block the sun over the pedes­trians or block the two side views of the Yarra River. I would instead build a series of fine, iron arches and cover each one in vines.



8 comments:

Student of History said...

Why did Melbourne's ceremonial arches come down so quickly? Ballarat's seemed to have remained in place.

Hels said...

Student

The Melbourne arches were built to be temporary from the start. And they weren't erected until later than Sydney's, just before the royals arrived in May. The royal images and symbols on the Melbourne arches seemed more significant than the recent Federation in Jan.

Hilary Melton-Butcher said...

Hi Hels - having not been to either Venice or Melbourne - both on the 'would like to visit list'. So thanks for this informative post - places I need to get to see and learn more about. Times are changing and what we'll be like in 100 years is somewhat open to question ... let alone 450 years hence. Stay safe - Hilary

Anonymous said...

I think you are on the right track with a light iron arch but not on the bridge itself. Perhaps where the last god awful arch was and where I think many arches were erected.

Hels said...

Hilary

The more things change, the more things stay the same. Yes.. the plague tore Venice apart in 1575–77 and they were sure that, once defeated, it would never return again. But history has clearly shown that the more sophisticated society became, the more devastation each pandemic caused. I think we should indeed give thanks if our communities survive, and that we should definitely let our architects and builders get back to work with important new projects.

By the way, you must visit Venice. It is the most beautiful city in the world.

Hels said...

Andrew

I am open to lots of suggestions, as long as the project celebrates life, memorialises the dead and thanks all health care professionals for their endless contributions. I am thinking of, for example, the Eiffel Tower which symbolises Paris all over the world.

Parnassus said...

Hello Hels, I think you have a great idea. In the past, earth-shaking events led to important monuments built with the view of practicality, supplication or commemoration. I suppose that some of these are still built (e.g., Maya Lin's Vietnam War Memorial), but their numbers and magnificence have overall dwindled compared to the past.

Speaking of Melbourne's lost arches, I have often thought it odd how many magnificent buildings, such as those for World's fairs, were built temporarily. Today, the carvings and elaborate decoration would probably cost more than the substructures, which had to be reasonably sound anyway to handle those huge crowds.
--Jim

Hels said...

Parnassus

pulling down World Fair buildings was a terrible waste of architectural and building resources, and a loss of badly needed facilities. Out of dozens of World Fairs, only Melbourne, Sydney and Crystal Palace London were maintained in total, and even the latter two disappeared (much later) in flames. Fortunately Chicago kept the Palace of Fine Arts, Paris kept the Grand and Petit Palaces and Milan still has the Civic Aquarium etc.

Post-WW1 shrines were important and are still very well attended, so we all have lots of experience visiting monuments memorialising earth-shaking events.